Beat Basics: Sub-Division, Making Time Signature Work For You

As we know, the time signature defines the count for each measure. The count is like a palette of options, and the measures are like a canvas, ready to be created with. Sub-division is what gives us the rhythm. It is the color spectrum on the palette.

Sub-division is the breaking down of the count into smaller counts. These smaller counts create the rhythm of the beat. Also, they add up to equal the time signature, i.e. the overall count. There are many ways to sub-divide with any given meter. (Meter is another name for the time signature)

Let’s have an example. We’ll use 7/8, which as we learned in the last Beat Basics article means a count of 7 eighth notes in each measure. First, let’s break it down this way: 1-2 1-2 1-2-3, 1-2 1-2 1-2-3. Three groupings of eighth notes that equal up to 7. Hand clap on the 1 of each group to get a sense of the rhythm that is created by this sub-division: 1-2 1-2 1-2-3, 1-2 1-2 1-2-3, 1-2 1-2 1-2-3. Notice the rhythm? This is used in Turkish, Arabic, and some Latin music.

Another way to breakdown 7/8 is: 1-2 1-2-3 1-2, 1-2 1-2-3 1-2. Do you see the difference between the two sub-divisions? They have a different emphasis, and the count makes a different rhythm, even though they are both still in the same time signature. 7/8 can also be broken down as: 1-2-3 1-2 1-2, 1-2-3 1-2 1-2. This creates yet another type of rhythm. Any combination of eighth notes can be used, as long as they add up to 7, each one creating a different feel. Even this unusual one works: 1 1-2-3 1-2-3, 1 1-2-3 1-2-3, 1 1-2-3 1-2-3. Try clapping that one, it almost has a broken record feel as it comes back to the beginning of the rhythm.

We’ve looked at 7/8, let’s try a different time signature to further emphasize the point. This time we’ll use 9/8. The most common form of 9/8 is this: 1-2-3 1-2-3 1-2-3, 1-2-3 1-2-3 1-2-3. This gives a triplet feel to the count. Here is another way to do it: 1-2 1-2 1-2-3 1-2, 1-2 1-2 1-2-3 1-2. There’s a big difference between the two, but they are both using the same time signature.

Do you see the value of knowing sub-division? It opens up a whole new range of musical expression. Knowing how to break down a time signature into different rhythms allows one to create with a whole range of different feels. Not only does sub-division effect the rhythm and movement of a song, but it also significantly effects the melodic and chordal structure of the song. The melody will be written based upon the rhythm of the music. Rather than sticking to the standard 4/4 beat of most music, sub-dividing adds a whole variety of possibility.

Once one masters sub-dividing, one can then begin to create music that switches time signatures multiple times throughout a song. This adds a great depth to what one can create. The possibilities are indeed endless. Hopefully this helps further your understand of time signature and rhythm. The next installment of beat basics will cover Syncopation. In the meantime, start counting and experimenting!

Today we’ll be covering one of the prime aspects of creating music. Before one considers song structure, harmony, or melody, one must start with the fundamental element, the beat. This is what lays the foundation, and the layers of the song come from there. To properly understand what makes a beat, it is important to know the correct terminology and concepts. Music is a language, and when one knows the terms, ideas can be communicated to other musicians. We will cover time signature, measures, phrases, beat counts, and also what they look like on the music page. Knowing this will help line up different drums to match the rhythm, for example.

A note is the time measure of a sound in how it relates to the music. To make a rhythm, one puts notes together into beats. A beat is made up of one or more notes. Try counting 1-2-3-4, while tapping your toe along with it. Each one of these numbers is considered a beat. In a four count like this, when the note and the beat are the same length, the note is called a 1/4 (quarter) note. It is also called this because this note/beat is 1/4 of a measure, typically. A measure is made up of beats, in our current example there are 4 beats in a measure.

Now lets look at some other note lengths. If we kept the beat the same, 1-2-3-4 (one measure), but doubled the amount of notes (making there be 8), having two notes per beat, these notes would be called 1/8th (eighth) notes. One note is 1/8th of the measure long.

We could double the notes again, still keeping four beats per measure. This would make us have four notes per beat, 16 in total. These notes are called 16th (sixteenth) notes, also because there are 16 of them per measure.

This is the basically how the count works, however measures are not limited to 4 beats. How does one know what a measure is worth in a song? This is dictated by what is called the time signature. The time signature controls the overall count of a song, saying how many beats are in a measure and what notes to use to make up the beats.

Let’s break down what it means when someone says a song is in 4/4 time. The bottom 4 means each beat is worth a 1/4 note, and the top 4 means there are 4 of these 1/4 notes in a measure. If we change it to 3/4 for example, there are 3 beats in a measure. You get the idea.

It gets tricky when we change the bottom number to say an 8. Let’s look at the 6/8 time signature. The 8 on the bottom shows that the beat is using 1/8th notes, and the 6 says there are six in a measure. We will delve further into other time signatures in future blogs. 4/4 is the typical time signature is most music.

The final term to know is what is called a phrase. A phrase is a group of measures. Usually a phrase will be four, eight or sixteen measures long. Phrasing is what is used to make a verse, chorus, and other aspects to constructing a song. When one has the time signature, puts the beats into measures, groups the measures into phrases, a song is born! Hopefully this was helpful in understanding the fundamental concepts for creating music. With this understanding, you can work with other musicians and also better construct your music.

11 Tips for Ableton Live Performance

I have performed live music in as a musician in traditional bands, a controlerist/musician in electronic bands, a solo electronic music performer, a DJ, and even as a VJ. Over the years I have picked up a few things that have helped me to put on better and better live shows. so here is a short list of tips for electronic musicians and DJ’s to think about when performing live.

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1 Keep it Simple

This is the tip that is applied to everything. Keep it simple! When you are prepping for an Ableton live performance you want to keep everything as simple as possible so that you can focus on your performance.

2 Build Your Box

We are always trying to get outside of the box, but the box has something that is very helpful. The box provides limitations that help you to keep it simple. Let your controllers be the box. Take a good look at the available midi controllers. Not all midi controllers are well suited for an Ableton Live performance rig. I live the Keith McMillen Instruments Quneo for the size and versatility. I love the Akai Apc 40 for its ease of use with in an Ableton Live performance set. The Ableton Push is great as an instrument and grid launcher. do many options. Pick your controllers and work with in the limitations of the controller. Design your Ableton Live performance set to fit the controller. View your controllers like an instrument.

3 Do not Touch your computer

Watching someone on stage standing behind a computer is boring. As a performing using the computer in front of you is uninspiring. Get the computer out of the way. Try not to put the computer between you and your audience. If your performing an original Ableton Live Performance you are not DJ. So perform, the crowed wants to see a performance. refer to tip number 2. Your box is your instrument. Your instrument is your performance. Build your performance set so you can do everything you need to do without touching your computer.

4 Never let them see you sweat

If your computer is on fire and melting act like it is part of the show. If the audio drops out and everything is silent.. yell at the crowed and hype them up. It doesn’t matter who’s fault the problem is, don’t bring attention to the problem.. act like it is part of the show and solve the problem. Some times that is harder the others. It helps to have a back plan. an Ipod, instruments, other band members.. anything to keep the crowed entertained and distracted while you or some one else solves the problem.

5 Be prepared

Have a back up plan. If your computer is broken be ready with a thumb drive so you can potentially borrow some one else’s. Have a small case of CD so you can play on CDJ’s, maybe an ipad, instruments, anything that you can do to make the show go on. Have extra cables. Be able to get from what ever your outputs are to XLR, 1/4 inch, and RCA. Bring extra usb/firewire/thunderbolt cables. have adaptors. I always have a stereo 1/8inch to left/right 1/4 and RCA just incase my audio interface breaks. This also helps you to be the hero. Promoters, bookers, and artists will remember better if you save the day.

5 Use a master Ableton Live Performance Set

In most cases you do not want to load a new Ableton Live set for each song. Create one master set that has all your songs in it so you only have to load one Ableton Live set. It may seem impossible, but trust me not only is it possible but 99% of the time it is the Absolute best way to perform.

6 If you do not play it, tweak, or manipulate it, render it.

Render your midi tracks to audio clips. If your processing your music with lots of effects and not manipulating anything render to an audio clip. Not only with this drastically cut down on your CPU usage but you will be able to better organize your live set to fit your box. you can also think in stages. Say you have a synth patch and you want to manipulate the filter cut off and lfo. Render the synth to audio with the filter open and then use auto filter or another filter on the audio.

7 Keep it Simple, Seriously!

you do not need to trigger everything and do everything. Unless of course that is your performance then by all means. If you are a spending trying to trigger every section of the song perfectly the same every time then just make it all one scene and focus on effects, singing, playing an instrument, or what ever it is that your performance is. Keep it simple and focused on performance. Do not worry about what people think. Blow them away with an epic performance of your design. Most people have no idea what your doing anyway so blow their minds!

8 Always except complements well

After your performance when people come and tell you how awesome you are, thank them graciously and smile confidently. I don’t care if you think you sucked and everything went wrong, they don’t have a clue about any of that and they think you are good. Never ever ever say “o man i sucked and screwed it all up”. If you say that that is almost a direct insult to the person that just gave you a compliment.

9 Practice, Practice Practice

This the secret to talent. Practice! Talent is not a gift or some magical thing. Talent comes from hard work, dedication, and practice. You can be as amazing as anyone if you focus and practice. I don’t care if your old, if your young, all you need to do is practice. People get so amazed and young kids that are amazing at what they do. Guess what the get to do all day.. practice, no job, just practice. if you practice we will become great.

10 Have Fun

This is the most important tip to putting on a good performance. Have fun, have lots and lots of fun. Performing music is fun. Even if your expressive emotional music that is all dark and emo, have some fun and enjoy yourself. Dance, move and express your self with every part of your being. That is your job and your job is fun.

11 Back up everything

Cloud storage is cheap these days. Copy.com and dropbox.com are awesome. They have free plans and paid plans. At the very least back up your live performance set. If you have your performance set backed up on the cloud and all your gear is stolen. You can download your live set onto another computer and perform. Your Ableton Live set will run even on a trial copy of Ableton Live. Remember the old show business saying “The Show Must Go On!” this is true even now.

These are just some of the many tips that can help you to put on an amazing Ableton Live Performance. Never forget your job is to entertain, how ever that may be down, what ever you are doing, your primary goal is to entertain people and take them into your world.

Tuesday 3/17/15 8-11pm

I will have a Demo set up and be participating in a panel at the Protos Festival.
Tuesdays Protos Festival event will be at Farewell Books located at 913 E Cesar Chavez, Austin TX
Protos Festival is a two day event happening on Tuesday and Wednesday,
for more information check out their website. http://www.protosfestival.org/

Thursday 3/19/2015 12:00p to 6:00pm

Ableton and Dubspot will be hosting an event at Empire Control Room located at 606 7th Street, I personally will not be doing a workshop,
but I will be there all day. This will be a great chance to get some amazing knowledge for free. For more information, and a schedule of everything Ableton
is involved with this SXSW go to this link https://www.ableton.com/en/blog/meet-ableton-sxsw-2015/.

Free Effects Racks Twist King and Stutter King

This effect rack was design was inspired by my friend Rion King when he came to my house to help me with some ideas on Lux Divon Track I was working. Rion made the suggestion to do a beat repeat with while sweeping the frequencies with a filter. I loved the rack design so much that I figured it was time to share them with the world!

Using and Recording Automation in Ableton Live 9

This Ableton Instruction video by Ableton Live Certified Trainer Jimmy Allison is about using and recording automation in Ableton Live 9. Automation is a very handy tool that can be utilized for both production and performance. New to Ableton Live 9 is the ability to record Automation directly into Live’s session view clips. You can also move clips between session view and arrangement view while maintaining the automation . This video also contains a tips for over dubbing Automation with the Ableton Push and a workflow tip involving using automation on the Ableton utility effect.

Over Dubbing Automation in Arrangement view with Ableton Push

This is video is just a quick video to show you how to overdub Automation in Ableton Live using Ableton Push. It can be a bit tricky but basically you need to set the input to non on the track so that the Ableton Push does not arm the track when you select. If the track is armed and you try to record Automation int0 Live’s arrangement view you will also overdub the midi clip. This is a just a quick video demonstrating how to set up Ableton Live’s Arrangement View for overdubbing automation with the Ableton Push.

Jimmy Allison is an Ableton Live Certified training offering private and group lesson online and in the Austin, TX area. Taking private lessons is one of the most cost effective ways of attaining your goals. The lessons will be focused on you and your needs which will greatly reduce your learning curve. Learn at your pace and on your own time. Highly specialized training from an instructor with over 7 years of experience teaching and countless years producing and performing music. Feel free to send a message and receive more info about Ableton Training

Live 8 Compressor works better for fast side chain compression when in FF1 model and A lot of people including my self still like to use the Opto/FB setting for smooth compression on vocals and other elements. Just in case you do not have the Live 8 compressor you can download Live 8 Compressor here and us it in Live 9

What is Side Chain Compression

Side Chain Compression enables you to have the compressor react from a separate signal then the one that is being compressed. In essence one signal will be ducking under the other. There are a few different uses of side chain compression. One of the classic uses is when A radio DJ and some Club DJ’s talks over a song that is playing. Wen the DJ talks there is a ducking effect on the music. This effect is automatic so the DJ does not have touch the volume fader when talking. Another classic use is the pumping effect that is common in a lot of EDM music. Every time the kick drum hits the side chain compressor reacts and creates A pumping effect on the other elements of the song. Most commonly the Bass but EDM producers usually pump the synths and pads to. There is also a way to use the side chain compressor so that sculpts the destination audio just a little but so that the source audio can stand out in a subtle way. A great example if this to keep the kick drum and bass form competing for the same space. you can side chain the bass to the kick drum, set a fast attack, fast release, and a lower ratio then you would for the pump effect. In the mix you wont notice the bass ducking but you will notice the kick having a little more punch. I tend to side chain each individual element of my mix to my kick drum, including my sends. I do this with fineness so that you do not hear any pumping in the mix you just hear a phat punchy kick drum. This technique can be used with any thing that you want to slightly stand above your mix. Some other examples are vocals as the source to compress a guitar or synth, in Jazz music you can set the side chain compressor on the lead instruments so it will stand above the others, when you want a lead guitar or synth to have more presence during the solo without having to turn it up, and much much more.

I was having a conversation the other day with my producer friend Levi Witt aka DRRTYWULVZ. He was talking about how annoying it was when dropping samples onto a drum rack and then having to adjust the release value of every simpler. Levi likes to have the release value short so he can control the length of the sample with the note length in Ableton Live’s midi clip view. I then mentioned A really awesome feature in Ableton Live 9 often over looked, User defined defaults. In previous version of Live you could right click/CMD click on the title bar of any Ableton Live device and save the current device as default. You can of course still do that in Live 9 and more.

First grab a default Simpler from the Ableton Live Instruments under Categories in you Live 9 browser. You can get a default simpler by dragging the folder called Simpler into a midi track. All built in Ableton Live Devices provide a default patch in this manor.